Asola is a representative of the Roman/Italian school like: Palestrina (1525-1594), Anerio (1560-1571), Vecchi (c.1550-1604). He was a pupil of Vincenzo Ruffo (1510-1587).
Of course in this small Missa pro Defunctis, in the title we saw Messa pro Defunctis, probably written in 1574, Asola made use of the plainchant in a short variety of forms. But there is by this Asola already other treatment of the text due to the Council of Trent as we normally saw, the style is close to the late works by Palestrina (1525-1594). Contrary to his Netherlands colleagues sizable proportions are written in homophonic style or even chordal style or very sober polyphonic style.
Most of the movements in this Missa pro Defunctis are written for four male/equal voices, some The Gradual and Tractus for three equal voices (TTB & TTTB).
In the first movement the Requiem aeternam, Asola quotes parts of the Gregorian Plainchant in an uni sono way, and this movement contains 53 bars.
A smaller part - the first part of this Requiem - is written in a modest polyphonically way. This part of the Requiem finishes with a firm homophonic part in: “et tibi reddetur votum in Jerusalam up to caro veniet”.
Here you see already clearly the change in technique compared to the brilliant polyphonic style of his Netherlands colleagues.
Imitation, independent rhythms, almost all contrapuntal devices have been nearly stripped away.
Asola helps himself all through this Mass with homophonic and canonic passages, larded with brief sections of non-imitative texture.
The clear presentation of the text governs all through this Missa pro Defunctis and is characteristic of a certain end 16th century Mass-style.
The Kyrie contains 38 bars and is written in a modest polyphonic style and starts in a canonic form. The Christe and last Kyrië start briefly homophonic and changes into polyphonic manner up to the end.
The Gradual in this case is used the text Requiem aeternam and not the Si Ambulem and is set for three equal voices TTB, contains 27 bars and is written in homophonic style. The same applies for the Tractus, Absolve Dominum set either for three equal voices TTB and contains 35 bars.
The Gradual and Tractus are since 1570 official part of the office of the Dead.
The Sequence, Dies irae is used by Asola like for instance Jacobus de Kerle (1531-1591 ) did in following the orders and the concluded implementation of the Dies Irae in the Office of the Dead by the Council of Trent. The Dies irae contains 149 bars and is written for alternating use uni sono and TTBB. The strophe with the odd numbers will be performed uni sono with the Plainchant. The straight numbers will be sung by several varied voices TTBB.
In “Ingemisco tanquam reus, Culpa rubet vultus meus;Supplicanti parce, Deus; translattion: I groan as one guilty, my face blushes with guilt; spare the suppliant, O God”, Asola follows the text in severe full homophonic style so he did the opposite in Confutatis maledictus now in a very delicate and gracious fluent polyphonic style.
In the phrase Pie Jesu, Asola uses long notes to accentuate the merciful Jesu! and is set following a conclusion ending with Amen in great E major.
The Offertorium is set for four equal voices TTBB, contains 99 bars and Asola quotes parts of the Gregorian Plainchant. The Offertorium is – due to the dramatic text - written in such an equal style in using a lot of sharps and flats. The first part has a modest polyphonic style; from “tu suscipe pro animabus” Asola uses a vast homophonic style. Asola omitted in this offertorium the normally used last sentence “Quam olim Abrahae promisisti et semini ejus”.
The Sanctus and Benedictus are very short respectively 26 and 17 bars and are based on modest polyphonic style with some independent rhythms and polyphonic movements in the beginning of the Sanctus/ Benedictus and Hosanna. Contrary to that the Pleni sunt coeli is homophonic ending with a short polyphonic Hosanna. The Sanctus starts with a short plainchant phrase.

The Agnus Dei I, II, III - 35 bars - start in each with a plainchant phrase, followed by homophonic style with some independent rhythm, nevertheless each dona eis requiem has polyphonic style.
In the Communio: Lux aeterna, Asola alternates in 45 bars with the plainchant uni sono followed by modest interesting polyphonic movements for TTBB. The Et Lux perpetua is vast homophonic ending up in a fluent polyphonic style.
This Missa pro defunctis is published in Venice in 1574 Venetia : appresso li
figliuoli di Antonio Gardano, 1574 and in 1576 by Gardano, Venezia, Missa pro defunctis aquattro voce pari (1576) and in nel 2.° libro delle messe a 4 voci pari.Ven. 1580.
Of course all the Missa pro Defunctis composed in the Renaissance period we saw are works written with deep devotion and painful hope, but in music terms they seems unbeatable most impressive.
Nevertheless contrary to that Asola was really a prolific composer of sacred music, but mostly in a conservative style.